1294 articles
Jazz Journal
JJ 10/63: Tubby Hayes – Late Spot At Scott’s
Sixty years ago Gerald Lascelles liked Gordon Beck's funkiness and Jimmy Deuchar's moderation of the leader's tendency to technical effusion
JJ 10/63: Stan Getz – Jazz Samba Encore!
Sixty years ago Steve Voce observed that while the UK had yet to endure the bossa-nova flood, US critics had yet to be exposed to the Beatles
JJ 10/63: Duke Ellington And John Coltrane – Duke Ellington And John Coltrane
Sixty years ago Gerald Lascelles wasn't sure Ellington and Coltrane fully considered the listener in making their tender tryst
JJ 10/63: In My Opinion – Sandy Brown
Sixty years ago Sandy Brown thought Cannonball Adderley's Jive Samba the dullest thing he'd heard since yesterday's Juke Box Jury
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JJ 09/93: Terje Rypdal – Q.E.D.
Thirty years ago, Graham Colombé observed that the guitarist's latest had more to do with contemporary classical music than jazz
JJ 09/93: Keith Jarrett – Bye Bye Blackbird
Thirty years ago, Graham Colombé thought the engineer should have minimised the pianist's vocal embellishments of some very good music
JJ 09/93: Tony Coe – Some Other Autumn
Thirty years ago, Derek Ansell recalled how two routine nights for the reedman with the Brian Lemon trio turned into something special
JJ 09/83: Gil Evans – The British Orchestra
Forty years ago, Simon Adams heard local talent - especially Chris Hunter - mostly stand up well in a nominally American setting. First published in Jazz Journal September 1983
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JJ 09/83: Jim Mullen – Thumbs Up
Forty years ago, Mark Gilbert noted how well Mullen's hip funk band fit the jazz bill, aided by solos from then still UK-based Chris Hunter
JJ 09/83: Red Garland at Lush Life, N.Y.
Forty years ago, Barry McRae saw the pianist hang loose amidst the turbulent hard bop of Woody Shaw, Philly Joe Jones and others
JJ 09/73: Morning Glory
Fifty years ago, Charles Le Vay was disappointed by the structural conservatism of Morning Glory but admired soloing from Surman and Rypdal
JJ 09/73: Back Door – Back Door
Fifty years ago, Charles Le Vay marvelled at how the innovative jazz-rock trio alluded to influences yet was unique, not least instrumentally
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